"The beauty and eeriness of the work stems directly from the other worldly effect of the digital arc carved in living tissue. She looks like a woman but perhaps she is simply an approximation. A reduction, as though a human being could be expressed as a heavily compressed 3D motion graphic."

The central motive of LARA is the growing intersection of digital and physical realities and the question as to what kind of physicality this tangible/intangible hybrid-reality produces.

The piece takes the movement patterns of computer game protagonists from around 2000 onwards as a starting point, where early collections of pixels have developed into incompletely realistic digital effigies of ourselves. Subtle flaws like rendering glitches, stiff and arhythmical facial expressions and inorganic movements break the fragile illusion and give these avatars an alien and even uncanny air.

LARA re-translates these unnatural movement qualities and image-errors back onto a physical body. This process of double translation – the imitation of the imitation – produces a physical body seemingly trapped in the digital realm.